Audio post workflow

I've just started editing a short film and have been in contact with the sound designer. I've never worked with a pro sound designer before so there's a few things I'm a bit confused about.

Previously I've just sent the OMF to the sound designer and a hard drive with all the rushes on. This time I have been asked for renamed rushes - renamed how exactly? Should I have done this before I started editing? As far as I know there is no sound report (I haven't received one anyway) - is this going to be a big problem?

Fair point - but I just wanted to try and get a little more info before asking her. I'd rather not come across as completely clueless if it's standard procedure (and she's a pro, I don't want to hassel her with 'unnecessary' questions).

I've been working in TV for 15 years...editing for 8 of those. I've never heard a request like that. I've been asked for an EDL of the audio, and the sources...and for an OMF or AAF. But renamed sources? No clue. I'd ask her.

Rushes shouldn't be renamed after editing. Perhaps before editing but once you start to cut, changing file names can be a huge problem. Unless there are issues like duplicated file names or absolutely no information on what audio files or folders match scenes or reels then even changing the copy of files going to sound post is not normal.

Sound recordists in the case of double system sound should have done some sound sheets. If it is double system it is wise to involve the sound post team before editing starts (before shooting ideally) to make sure there is a workflow that suits. Do you cut with guide and let them reconform? Not without a plan that goes back to how the sound was shot and how timecode, reel numbers and file folders are organised.